Displaying items by tag: Chad Bay

It is possible that Oak Park Festival Theatre’s production of Oscar Wilde’s 1895 “trivial comedy for serious people,” The Importance of Being Earnest, was suffering from some opening night jitters and that the actors will settle in and trust the verbal comedy in the script, but on this beautiful evening under the stars, there was too much mugging and nudging going on. Nevertheless, Wilde’s play, about two young men, Algernon (August Forman) and Jack (Chad Bay), who have both invented alibis - Algernon an invalid friend named Bunbury in the country and Jack a degenerate younger brother in town--to allow them to indulge their socially questionable whims, leading to the difficulty of having to explain why neither is Ernest, is still funny. And, despite the excesses on display, this staging still holds many delights for fans of Wilde, verbal comedy, and, particularly in the second act, some smartly choreographed slapstick. What is missing from much of the evening is earnestness. Many of the actors seemed to be in search of motivation and the stakes that propel them through this admittedly effervescent frolic.

Working with a talented cast of regional stage actors, director Kathryn Walsh has not created a secure world for her creative team to inhabit, resulting in an often funny but not dynamic production, with shrill delivery and broad physical comedy undermining human-scale relationships. The tone and gestures of the various characters range wildly, as do the design elements. The whimsical, vaguely Victorian costumes, while fun, support the cartoonish elements of the production, while not always clearly defining the characters. The lighting design by Devin Cameron is appropriately warm and effectively saturated but also deploys unnecessary flourishes to support the comedic business. The scenic design by Evan Frank likewise captures the locations of the play and allows the actors to find many levels - literally - as they shift allegiances and stratagems. Justin Cavazos’s sound design and compositions lend unobtrusive support, except for one hilariously developed cue that draws attention to itself in a good way. Overall, Walsh’s production would be better served by trusting the script and the audience, especially in the first act, when we are getting to know the characters and their desires. That said, both Walsh’s direction and her cast fully commit to the amorous and combative collisions at the beginning of the second act, which showcases the physical and verbal comedic gifts of all to uproarious effect.

As part of the Oak Park Festival Theatre's 51st season (left to right) August Foreman, Barbara Zahora, Aurora Pennepacker, Drew Bos, Sonia Goldberg and Chad Bay in The Importance of Being Earnest at Austin Gardens.

One of the things that makes The Importance of Being Earnest work is the moral certitude that the characters bring to their pronouncements, no matter how absurd they are or whether their actions correspond to their words. This certitude also grounds the characters in their truths and forms the foundation of their interactions, but too often the actors are checking in with the audience to see if they got the joke (especially when many of Wilde’s observations still resonate) or negotiating with the lines. By the middle of the second act, the characters begin to define themselves, but much opportunity for connection is lost in the first. August Forman as Algernon flings himself into the role with wild abandon and invites the audience along for the ride. An adept comedian, Forman’s strategy often pays off but undermines Algernon’s insecurity as he balances his needs with society’s demands. All that aside, his Algernon’s compulsion for muffins is not to be missed. As his friend Ernest, who is actually Jack, Chad Bay does a good job of playing the less self-aware of the friends and playing up the character’s completely unjustified horror at Algernon’s embrace of Bunburyism. As Jack’s romantic interest, and Algernon’s cousin, Gwendolen, Sonia Goldberg at times overplays her character’s pretensions, some of which Gwendolen is still struggling to master, making Goldberg’s characterization overwhelmingly self-possessed at times. Conversely, Barbara Zahora lacks the imperiousness of many Lady Bracknells, giving the character an interesting warmth, but making her power solely transactional, which could be an interesting choice if it were played more fully. Aurora Pennepacker as Cecily strikes the most effective balance between the verbal and physical comedy, making the most of the opportunities to show Cecily’s willingness to exploit others’ assumptions about her character and her real understanding of her powerlessness without this ability. In Jodi Gage’s performance, Ms. Prism is a refreshingly insightful tutor to Cecily, while doggedly hanging onto youthful romanticism. Gabriel Armstrong is a very youthful Reverand Chasuble, celebrating his sudden relevance in parish life. Drew Bos may be the youngest actor to play the dual roles of Lane and Merriman in a professional production and wisely focuses on the class commentary afforded by the butlers of their respective households. His droll Lane gives Algernon food for thought in Act I, while his Merriman, already suffering from the physical strain of servitude despite his youth, effectively times his long-suffering pauses at each new demand (though Bos may need a visit to a chiropractor after the run). The experienced cast expertly and clearly delivers Wilde’s witticisms, which are always worth revisiting and occasionally resonate with the current social dynamics.

As the run continues, the production will most likely settle in and allow the script to propel the pacing and action more fully, especially in the more expository first act. There is much to appreciate in Oak Park Festival Theatre’s The Importance of Being Earnest, including a smart cast who find both the verbal and physical humor inherent to the play. Director Kathryn Walsh and her cast also explore fresh takes on the characters, some more successful than others, but always welcome. For those unfamiliar with Wilde’s play, this production is a solid introduction.

The Importance of Being Earnest runs in repertory with Hamlet, through August 14, outdoors in Austin Gardens in Oak Park, Illinois. Visit Season 51 | Oak Park Festival Theatre or call (708) 300-9396 for tickets and more information. Note: a number of the actors perform in both Earnest and Hamlet, and Oak Park Festival Theatre is offering discounted tickets for audiences who want to see both.

A fool and their money are soon parted as the old expression goes, but what do you do when that fool is your best friend? Yasmina Reza’s 1996 Tony Award winning play ‘Art’ explores the balance of opinion, influence and friendship. Under Marti Lyons’ direction, Remy Bumppo’s revival is a madcap drawing room comedy that might even make you question your own sense of taste.

Parisians Marc, Serge and Yvan are close friends until Serge (Chad Bay) purchases an absurdly expensive, but terrible piece of art. While Serge beams over his new acquisition, Marc (Justin Albinder) is shocked at how bad the piece is and struggles to comprehend how his friend could possibly like it. Meanwhile people-pleasing Yvan (Eduardo Curley), is stuck in the middle trying to play both sides.

Similar to Reza’s most acclaimed play ‘God of Carnage’, ‘Art’ is confined to one chic set, but finds theatricality in richly dense dialog and the over-the-top slapstick humor. Though, none of that would work without the strong chemistry on stage.

There’s a certain sitcom style humor to ‘Art’ that harkens back to the best episodes of ‘Seinfeld’. This 80 minute play is about a splintered friendship that’s been chipped away through petty, unspoken grievances. The three-way friendship dynamic is having a moment right now on the heels of this past season of ‘The White Lotus’. Though, perhaps unlike ‘White Lotus’ Yasmina Reza was wise to set her friendship triad in circumstances that don’t rely on gender stereotypes to explore the uncomfortable truths about triangular relationships.

‘Art’ is also a statement on the very idea of opinion: when to have one, when to express one and ultimately how to process someone else's. In the social media era, there’s a kind of pressure to have a strong opinion about everything, even topics on which you’re not informed. Reza suggests that those with the strongest opinions, may not always be the most confident about them. Hence, Marc’s intense desire to convert Yvan to his point of view.

In a three character play, it’s hard to say who the main character is but really either character could be seen as the character on which the play hinges. Eduardo Curley brings Yvan to life in neurotic perfection. Maybe the reason he doesn’t have a strong opinion about the work is that he’s mostly concerned with the anxiety of living. Yvan’s long, animated and silly monologues help cut the tension between Marc and Serge, but both friends are trying to prove themselves right based on whether Yvan agrees.

Yasmina Reza’s play remains timeless in its contemporary allegory. While it may be named ‘Art’ this play is about more than just a silly painting. Lyons’ production at Remy Bumppo is stylish and funny thanks to the intimate cast and Liz Gomez’s gorgeous set. The short play packs a gag-a-minute but leaves you wondering what is the best way to politely disagree with someone you respect?

Through June 1 at Remy Bumppo at Theatre Wit. 1229 W Belmont Ave. 773-975-8150

*This review is also featured on https://www.theatreinchicago.com/!